ICE-CANDY MAN AS A PARTITION NOVEL

[@ArsalCh-k7f]

Plz

[@ArsalCh-k7f]

Plz kya ap hard times novel Ky questions Ky b notes bna skty h plz

[@aristotleuncle8367]

main krti hun inshaallah

[@ArsalCh-k7f]

Q k hamry exam h jld hi

[@aristotleuncle8367]

Hard Times (1854) Composed by Charles Dickens Important Themes/ topics Themes are the fundamental and often universal ideas explored in a literary work. Effects of Industrialization * The Mechanization of Human Beings "Coketown lay shrouded in a haze of its own, which appeared impervious to the sun’s rays. You only knew the town was there because you knew there could have been no such sulky blotch upon the prospect without a town. A blur of soot and smoke, now confusedly tending this way, now that way, now aspiring to the vault of Heaven, now murkily creeping along the earth, as the wind rose and fell, or changed its quarter: a dense formless jumble, with sheets of cross light in it, that showed nothing but masses of darkness-Coketown in the distance was suggestive of itself, though not a brick of it could be seen." Like many other descriptions of Coketown, this passage, from Book the Second, Chapter 1, emphasizes its somber smokiness. The murky soot that fills the air represents the moral filth that permeates the manufacturing town. Similarly, the sun’s rays represent both the physical and moral beauty that Coketown lacks. While the pollution from the factories makes Coketown literally a dark, dirty place to live, the suffering of its poor and the cold self-interest of its rich inhabitants render Coketown figuratively dark. In stating that Coketown’s appearance on the horizon is “suggestive of itself,” the narrator implies that Coketown is exactly what it appears to be. The dark “sulky blotch” hides no secrets but simply represents what is, on closer inspection, a dark, formless town. Built entirely of hard, red brick, Coketown has no redeeming beauty or mystery. Hard Times suggests that nineteenth-century England’s overzealous adoption of industrialization threatens to turn human beings into machines by thwarting the development of their emotions and imaginations.This suggestion comes forth largely through the actions of Gradgrind and his follower, Bounderby: as the former educates the young children of his family and his school in the ways of fact, the latter treats the workers in his factory as emotionless objects that are easily exploited for his own self-interest. Thomas Gradgrind, a wealthy, retired merchant in the industrial city of Coketown, England, devotes his life to a philosophy of rationalism, self-interest, and fact. He raises his oldest children, Louisa and Tom, according to this philosophy and never allows them to engage in fanciful or imaginative pursuits. He founds a school and charitably takes in one of the students, the kindly and imaginative Sissy Jupe, after the disappearance of her father, a circus entertainer. "Now, what I want is Facts. Teach these boys and girls nothing but Facts.(...). You can only form the mind of reasoning animals upon Facts: nothing else will ever be of any service to them. These lines, Spoken by Mr. Gradgrind, they sum up his rationalist philosophy. In claiming that “nothing else will ever be of service” to his pupils, Gradgrind reveals his belief that facts are important because they enable individuals to further their own interests. " Louisa marries Gradgrind’s friend Josiah Bounderby, a wealthy factory owner and banker more than twice her age. In Chapter 15 of Book One, Mr. Gradgrind explains to Louisa that Mr. Bounderby has asked his permission to marry her. She displays very little outward emotion upon hearing this proposal, and although the narrator suggests that she suppresses her true feelings, she eventually agrees to become Mr. Bounderby’s wife. Mr. Gradgrind presents the situation to Louisa in terms of “Facts” about marriage compatibility, and this approach takes advantage of her inability to understand her emotions in order to persuade her to accept the proposal. "It is known, to the force of a single pound weight, what the engine will do; but not all the calculators of the National debt can tell me the capacity for good or evil, for love or hatred, for patriotism or discontent, for the decomposition of virtue into vice, or the reverse, at any single moment in the soul of one of these quiet servants, with the composed faces and the regulated actions.( Book the First, Chapter 11)" This passage, provides insight into the narrator’s beliefs and opinions. Dickens’s omniscient narrator assumes the role of a moral guide, and his opinion tends to shape our own interpretations of the story. Here, we learn that the narrator disagrees with Gradgrind, believing instead that human nature cannot be reduced to a bundle of facts and scientific principles. The narrator invokes the mystery of the human mind, pointing out how little we actually know about what motivates the actions of our fellow beings. The “quiet servants” to whom the narrator refers are the factory Hands. In representing these people as an unknown quantity, the narrator counteracts Bounderby’s stereotypes of the poor as lazy, greedy good-for-nothings. While he suggests that we need to understand these people better, the narrator also implies that this knowledge cannot be attained through calculation, measurement, and/or the accumulation of fact. "Thou art an Angel. Bless thee, bless thee!" More a symbol than a fully developed character, Rachael is often referred to as an angel by Stephen. Like Sissy Jupe, whom she later befriends, Rachael represents the qualities necessary to counteract the dehumanizing, morally corrupting effects of industrialization. She is compassionate, honest, generous, and faithful to Stephen, even when everyone else shuns him and considers him a thief. As this remark illustrates, Rachael also draws out Stephen’s good qualities, making him realize that joy can be found even in the moral darkness of Coketown. Rachael and Sissy are both socially marginal characters-the former is a Hand, and the latter is the daughter of a circus entertainer. Likewise, they are both relatively minor characters in the novel. Through their marginal status, Dickens implies that the self-serving rationalism that dominates Coketown threatens to exclude the morally pure people who are necessary to save society from complete corruption By drawing attention to the fact that we are reading fiction, Dickens suggests to us that facts alone cannot bring intellectual pleasure. * Capitalism As with many of Dickens’s novels, Hard Times serves as a critique of the social and political environment of 19th-century London. He particularly focuses on highlighting the detrimental aspects of industrialism through characters such as Mr. Bounderby, whose self-made identity is a lie, and Stephen Blackpool, a working-class man whose sincerity is no match for the greed that plagues those around him. The heartless, self-serving attitudes that pervade Coketown ensure that all of its citizens experience “hard times” in one way or another, suggesting that London’s emphasis on capitalism has the ability to destroy an individual’s sense of humanity. "Look how we live, an’ wheer we live, an’ in what numbers, an’ by what chances, an’ wi’ what sameness; and look how the mills is awlus a-goin’, and how they never works us no nigher to onny distant object-‘ceptin awlus Death. Look how you considers of us, and writes of us, and talks of us, and goes up wi’ your deputations to Secretaries o’ State ‘bout us, and how yo are awlus right, and how we are awlus wrong, and never had’n no reason in us sin ever we were born. Look how this ha’ growen an’ growen sir, bigger an’ bigger, broader an’ broader, harder an’ harder, fro year to year, fro generation unto generation. Who can look on’t sir, and fairly tell a man ‘tis not a muddle? (Book the Second, Chapter 5)" Stephen Blackpool’s speech to Bounderby,, is one of the few glimpses that we receive into the lives of the Hands. His long sentences and repetition of words such as “an’” and “Look” mimic the monotony of the workers’ lives. Similarly, Stephen’s dialect illustrates his lack of education and contrasts with the proper English spoken by the middle-class characters and by the narrator. In spite of his lack of formal education, however, Stephen possesses greater insight about the relationship between employer and employee than does Bounderby. Stephen notes that “yo” (the factory owners and employers) and “us” (the Hands) are constantly opposed, but that the Hands stand no chance in the contest because the employers possess all the wealth and power. However, he does not blame the employers solely for the suffering of the poor, concluding instead that the situation is a “muddle” and that it is difficult to determine who is responsible for society’s ills. Stephen also suggests that the monotony of factory labor seems futile to the Hands, who need to strive for some larger goal in order to make the endless round of production seem worthwhile. The “distant object” or larger goal that he mentions here is later symbolized by the bright star on which he gazes while trapped at the bottom of the mine shaft. *Conclusion In conclusion, the relentless march of industrialization and mechanization has brought about a dehumanizing transformation, reducing humans to mere machines. The once vibrant and diverse individuals of Coketown have been consumed by the very factories they toil in, their lives dictated by the rhythms of production and profit. As the smoke and soot of progress choke the town, we are left to wonder: have we lost the essence of our humanity in the pursuit of efficiency and wealth? The bleak landscape of Coketown serves as a stark reminder of the need to reclaim our humanity in the face of industrialization's relentless onslaught.

[@ArsalCh-k7f]

Plz

[@aristotleuncle8367]

You can ask me any specific question